As mentioned in the previous post, I’ve just returned from Canberra, having spent 2 days there for the opening of ‘Space Invaders’, the National Gallery of Australia’s first ever exhibition of street art.

Whatever you think about the exhibition of street art in gallery spaces, it can’t be denied that it’s a hugely significant moment for the National Gallery in Canberra to stage this exhibition.

But what exactly does it signify?

One of the comments that kept running through conversations on Friday evening at the preview party was a kind of half-joke that this exhibition means that ‘it’s all official’ now: that the exhibition legitimates the activity completely. In some ways, that may be true. It certainly makes it harder to sustain any broad-brush arguments about graffiti and street art as activities which lack any value and simply bespeak social problems. And perhaps the fact that this show is running for 3 months in Canberra and then will tour to other cities over the next year or so means that there will be a gradual and sustained legitimation effect… Perhaps – we’ll see.

But what seems sure already is that the exhibition has allowed street art to find its way into some new spaces. First of all, and most obviously, the show puts street-based works on display within a building which houses images by some of the best-known artists in Australia and internationally (Picasso, Chuck Close, Tracey Moffatt, Fred Williams, to name an eclectic group as examples). And now, exhibited in the same museum as these established luminaries, you can find work by Rone, Vexta, Miso, Meek, and many more. No matter which galleries these artists have been showing in before, it is a huge leap to have work displayed in the National Gallery. (It’s also worth emphasising that the NGA is showing the works inside the museum walls, unlike the Tate Modern in London which displayed street art on its outer walls but did not exhibit any of the works inside the museum.)

But in other ways, the exhibition brought street art into other new spaces. During the opening weekend, some of the artists put up work in the streets of the capital:

Twoone

Tibet

Anthony Lister

And here’s my favourite, a clever piece by Lister, taking the iconic ‘Redhead’ brand of matches and turning it into a demand that Julia Gillard, Australia’s red-haired Prime Minister, ‘bring our troops home’:

Apologies for the dim light in the photograph – it was taken on a rainy Canberra night, in which Miso and I got lost trying to find our way home from Canberra’s CBD to the hotel, and discovering that all Canberra streets tend to look the same. And in the midst of all that rain, it was good to see these aesthetic interventions in the bland and clinical spaces of the capital, little moments of disruptions in the smooth space of a city designed without attention to pedestrian culture.

* I don’t mean to imply that there are no street artists in Canberra – there are some very talented ones, such as E.L.K. But the city does not seem hospitable to street art and it would be fantastic if this exhibition altered that in any way.